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Nº 11 Junio 2021 I.S.S.N CONSERVATORIO SUPERIOR DE MÚSICA “ANDRÉS DE VANDELVIRA” DE JAÉN AV Notas AV Notas REVISTA DE INVESTIGACIÓN MUSICAL Nº 11 Junio 2021 I.S.S.N. 2529-8577 Catalogación y estudio de las obras de Henry Purcell en las que se incluye a la trompeta: la saga inglesa de los trompetistas de la familia de los Shore Música para una izquierda latinoamericana: el Concierto de Santiago de Mario Kuri-Aldana Trascendencia para el futuro profesional de "improvisar" con la improvisación Cinq Incantations pour flûte seule de André Jolivet. Un estudio interpretativo a través de la segunda Incantation, Pour que l’enfant qui va naître soit un fils Euphory Concerto de Adam Wesolowsi: música para nuevos tiempos Guía para el percusionista rudimental Maurice Ravel: Valses nobles et sentimentales. Estudio interpretativo AV Notas, Revista de investigación musical y artística del Conservatorio Superior de Música “Andrés de Vandelvira” de Jaén. Dirección: Calle Compañía nº 1. 23001 Jaén. Teléfono: 953 365610 Dirección Web: www.csmjaen.com Director del centro: Pedro Pablo Gordillo Castro Equipo de la revista Dirección: Sonia Segura Jerez Subcomité editorial, Nº 11: • Julia Baena Reigal • Luis Báez Cervantes • Jorge Javier Giner Gutiérrez • Sonia Segura Jerez Dirección Web: http: publicaciones.csmjaen.es Administrador del sitio web: Ángel Damián Sevilla González Contacto: [email protected] Plataforma editorial: OJS, Open Journal System ISSN: 2529-8577 Indexación: Dialnet, Latindex Catálogo 2.0, DOAJ, CiteFactor, PKP Index, OAIndex, Electra (Publicaciones Andaluzas en la Red. Biblioteca de Andalucía), Repositorio de publicaciones de Averroes. 3 4 Consejo Editorial • Dña. Elsa Calero Carramolino. Universidad de Granada • D. Albano García Sánchez, Universidad de Córdoba • Dña. Mª del Rosario Hernández Iznaga, Universidad de las Artes de Cuba • Dña. Eva María Jiménez Rodríguez. Conservatorio Profesional de Música Ángel Barrios de Granada • D. Sergio Lasuén. Conservatorio Profesional de Música Maestro Chicano Muñoz de Lucena • Dña. Mª Paz López-Peláez Casellas, Universidad de Jaén • D. Víctor Padilla Martín-Caro, Universidad Internacional de la Rioja • D. Juan Miguel Moreno Calderón. Conservatorio Superior de Música Rafael Orozco de Córdoba • D. Francisco José Rosal Nadales. Investigador independiente. UNED. • D. Jose Manuel Rubia Pliego. Conservatorio Profesional de Música Ramón Garay de Jaén • D. Enrique Rueda Frías, Real Conservatorio Superior de Música de Madrid • Dña. Sonia Segura Jerez. Conservatorio Superior de Música Andrés de Vandelvira de Jaén. Universidad de Jaén AV Notas. Revista de Investigación Musical. ISSN: 2529-8577 Nº 11. JUNIO 2021 JAÉN 5 6 ÍNDICE 9. Catalogación y estudio de las obras de Henry Purcell en las que se incluye a la trompeta: la saga inglesa de los trompetistas de la familia de los Shore DAVID GUILLÉN MONJE 39. Música para una izquierda latinoamericana: el Concierto de Santiago de Mario Kuri-Aldana RENIER GARNIER GARCÍAE 63. Trascendencia para el futuro profesional de "improvisar" con la improvisación CARLOS GALÁN BUENO 75. Cinq Incantations pour flûte seule de André Jolivet. Un estudio interpretativo a través de la segunda Incantation, Pour que l’enfant qui va naître soit un fils ANA FLORES ALGARRA 91. Euphory Concerto de Adam Wesolowsi: música para nuevos tiempos JAVIER MIRANDA MEDINA. JOSE ANTONIO MÁRQUEZ RUEDA 115. Guía para el percusionista rudimental ALEJANDRO NAVARRO LARA 127. Maurice Ravel: Valses nobles et sentimentales. Estudio interpretativo. MARÍA TERESA NIÑO MORAGO 7 8 Revista AV Notas, Nº11 ISSN: 2529-8577 Junio, 2021 CATALOGACIÓN Y ESTUDIO DE LAS OBRAS DE HENRY PURCELL EN LAS QUE SE INCLUYE A LA TROMPETA: LA SAGA INGLESA DE LOS TROMPETISTAS DE LA FAMILIA SHORE CATALOG AND STUDY OF HENRY PURCELL´S WORKS WHICH INCLUDES THE TRUMPET: THE ENGLISH TRUMPETERS OF THE SHORE FAMILY David Guillén Monje Conservatorio Superior de Música de Málaga RESUMEN El reconocido compositor inglés del siglo XVII Henry Purcell, al igual que ocurrió con muchos otros autores que desarrollaron su obra durante los prolegómenos del Barroco tardío en Europa, empleó la trompeta en algunas de sus partituras: tanto las planteadas bajo la concepción de música para la escena, como la orquestal, la sacra o la instrumental. Aun no apareciendo la trompeta en un alto porcentaje de su legado, Purcell fue un referente en este periodo histórico musical inglés para la consolidación e instrumentación de la misma en los diversos géneros referidos, como herencia especialmente tomada del estilo italiano. A pesar de que la Inglaterra de la época estuviera un tanto aislada artísticamente por motivos políticos con respecto a la estética y técnica llevada a cabo en el resto del continente, el maestro británico comenzó a implementar instrumentaciones muy elaboradas y desarrolladas contando con la trompeta. Esto fue así gracias a la coincidencia de Purcell con la talentosa saga familiar de trompetistas ingleses: los Shore. Con mucha seguridad, tanto Matthias Shore como su hijo John, además de brindar su amistad a Purcell, también le ofrecieron muchos datos sobre los recursos técnicos y musicales del instrumento, además de garantías para una buena interpretación. De esta manera, el genial compositor inglés pudo tratar las partes de trompeta de manera brillante en algunas de sus obras. Con este artículo se pretende recoger en castellano todo el trabajo de trompetas del maestro británico. Palabras clave: Purcell; John Shore; Matthias Shore; Sergeant-Trumpeter; flat trumpet. 9 CATALOGACIÓN Y ESTUDIO DE LAS OBRAS DE HENRY PURCELL EN LAS QUE SE INCLUYE A LA TROMPETA: LA SAGA INGLESA DE LOS TROMPETISTAS DE LA FAMILIA SHORE ABSTRACT Henry Purcell, renowned English composer of the seventeenth century, as with many other authors who developed his work during the beginning of the late Baroque in Europe, used the trumpet in some of his scores: both those raised under the concept of music for scene, such as the orchestral, together with sacred or instrumental music. Even though trumpet did not appear in a high percentage of his legacy, Purcell was a reference in this historical English musical period for the consolidation and instrumentation of it in the various genres referred to, as a heritage especially taken from the Italian style. Despite the fact that the England of the time was somewhat isolated artistically for political reasons with respect to the aesthetics and technique carried out in the rest of the continent, Purcell began to implement very elaborate and developed instrumentation with the trumpet, thanks to the fact that he met the talented family saga of English trumpeters: the Shores. With great confidence, both Matthias Shore and his son John, in addition to offering their friendship to Purcell, also offered him many of the technical and musical resources of the instrument, as well as guarantees for a good interpretation. In this way, the great English composer was able to treat the trumpet parts brilliantly in some of his works. This article aims to collect in Spanish all the trumpet works of the British master. Keywords: Purcell; John Shore; Matthias Shore; Sergeant-Trumpeter; flat trumpet. INTRODUCCIÓN El autor del Barroco inglés Henry Purcell (Westminster, 1659 - Londres, 1695) fue uno de los grandes compositores de ese periodo estético, además de considerarse como uno de los maestros más importantes en la historia de la música británica (Arias, 2002, p. 41). Se conoce muy poco de su vida privada, aunque sí se tiene constancia que dejó una producción considerable en cantidad y calidad en diferentes géneros: sus comienzos compositivos estuvieron ligados a la música para la iglesia y, más tarde, con la de la corte y la dedicada a la escena y teatro. El patrimonio compositivo de Purcell, además de en los cánones creativos de la música inglesa de la época, se fundamentó a partir de las importantes influencias de la música francesa e italiana. En cierta manera, esta confluencia de diversas estéticas estuvo fundamentada por las convulsiones sociales que con anterioridad sufrió la Inglaterra de la época y, por ende, el propio Purcell. La reposición del régimen monárquico en 1660, después de los conflictos políticos-sociales de años precedentes, llevó a los artistas británicos a la búsqueda de la identidad estética nacional. Junto a ello, otras causas, como el cisma entre la iglesia católica y anglicana que produjeron que muchos de los músicos ingleses se vieran desligados del avance creativo que acontecía en el resto de Europa (King, 1996, p. 10). Tal y como asevera el compositor inglés Benjamin Britten, la principal particularidad de las composiciones de Purcell es la “[…] mezcla de claridad, brillantez, ternura y rareza” (King, 1996, p. 10). No cabe duda de su notorio mérito como compositor pese a que, los años siguientes a su fallecimiento, su obra fuera olvidada. Este patrimonio fue rescatado en el ecuador del siglo XIX por el musicólogo y organista Edward Francis Rimbault (1816- 1876) y por The Purcell Society, organización fundada en 1876 dedicada a recoger y preservar la obra del autor. Purcell fue reconocido y admirado por muchas de las personas que le rodearon y que conocieron su genio en vida. Prueba de ello es que fue el primer músico enterrado en la Abadía de Westminster, señalándose en su epitafio lo siguiente: “Aquí yace el señor Henry Purcell, quien dejó esta vida y ha ido a aquel bendito lugar que es el único donde su armonía pueda ser superada” (King, 1996, p. 23). También, recogemos la frase que escribió Henry Hall –que fue niño corista bajo las órdenes de Purcell en la Capilla Real– a colación del autor: “A veces surge un héroe en una época, pero apenas un Purcell en mil años” (King, 1996, p. 24). Ya en nuestra era, el afamado musicólogo y director inglés Sir Jack Westrup (1904-1975) dejó escrito esto: “Lo que nadie 10 DAVID GUILLÉN MONJE dejará de encontrar, en los mejores momentos musicales de Purcell, es una fuente de vida, una vitalidad que brilla con potencia” (King, 1975). Junto a lo expuesto, también resulta interesante indicar que el compositor irlandés Thomas Morgan, cuya época dorada en su carrera se comprendió entre 1691 y 1699, en su oda Come, come along (1696), mostró un tributo post mortem a Purcell.
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